American Research Journal of English and Literature

Pan Li-na1, Guo Xiao-chun2

The Thick translation is paid more and more attention in academics in recent years, which is one of the translation criteria and translation strategy. It rises and develop abroad, and accepted by foreign scholars widely. Domestic scholars research it from different angles, which is a kind of interpretation of translation, to provide practical platform to transfer the source language culture, this paper introduces the development history and research status of thick translation, and introduces its application in sinologist Davis’ the Revolution of The Seasons from in-text translation and out-of-text translation, showing its practical functions.

Tek Bahadur Chhetry

The focus of this research is on the subversion of heroic identity. The hero in Avatar movie challenges imperial force. Such a study is important to reexamine the heroic deeds in the new light. It counters the preoccupied concept of seizing resources as a heroic deed. The approach adopted in this paper includes study of hero’s journey mainly in Joseph Campbell’s term. Instead of covering the entire process of hero’s journey, it concentrates on hero’s self-discovery for the benevolence of indigenous life and nature. The finding from this study provides an idea that mythical avatar for human welfare contradicts with modern man-made avatars for exploitation of others. The main conclusion of this research advocates against the human folly of the modern world over the insurmountable nature.

Dr. T Eswar Rao

Literary critics often do not indulge in forecasting as they seldom come true. But Earnest Schier proved it wrong when he proclaimed August Wilson is a better chronicler of the black experience than Alex Haley. Wilson has carved a special niche for himself as “a compelling new voice” of the American theatre in recent time. His reputation rests mainly on his deft chronicling of black experience which is a perennial source to supply him the necessary stuff that goes into the making of his plays in epitomizing his honest endeavors to confront in his works the glancing manner with which the blacks look at themselves and the majority community culture of Americans look at the blacks. He finds the gamut of black American experience as the inexhaustible source to provide a dramatist with relevant themes to write about. Wilson juts up his tribute to Loomis’ search by delving deep into the complexity of black experience and thereby seeks not only to help other blacks towards developing deeper understanding and insight of themselves but also to be an agent of a voyage of self discovery for the Americans at large - irrespective of caste, creed, color, and culture. This paper studies his work’s deep involvement with his ‘Racial Other’

S. Avishia Arul

Dr. Hanan Abdulaziz Alazaz

The representation of grieving mothers and fathers in American literature is shaped by gendered perceptions of how women and men should mourn the loss of their children in different ways. In what could be described as the surveillance of the modes of mourning maternal characters were granted more space to display emotions publicly while paternal characters were not. The scrutiny of public display of emotions by men due to perceptions of masculinity was challenged in two texts published in the 1990s. Although Jacquelyn Mitchard’s The Deep End of the Ocean (1996) and John Irving’s A Widow for One Year (1998) adhere at times to the representation of traditional norms of gendered grieving, both novels challenge the association of excessive emotionality to women and rewrite the narrative into what can be described as the sad man in the attic who shows his emotions in some instances in the narrative. Like the mad woman who lives in the attic in Charlotte Brontë’s Jane Eyre (1847) who sneaks into Jane’s room, the grieving father displays his emotions publicly in some parts of the novels then hides them in an attic of masculine conventions and expectations. The two texts, along with an earlier American text, question perceptions of masculine modes of grieving that is shaped by the norms of gendered grieving. The texts challenge these perceptions by shifting male grieving, making it a public display of emotions and associating it with hysteria and feminized modes of sentimentality.